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Untitled Article
thos ^ vvho can laugh at repeated inswapc * s of at > qi £ i , ve efforts and tnei ^ p bol / failures , the average number of crilipUjtia that are written uppotbenj * must present an equally extensive field far vexatious lau ^ t ^ r . Ten artists paint forty infamous pictures : ten critic * a re aur . eto be found , somewhere or other , ' who pronounce many of them to possess thehighest excellence . One artist paints a Hue picture , and ounaeious imagined faults are instantly pointed out , and probably
not one real fault , or one real beauty . There seems to be an organ , however , of some promise preparing to take the field against the ensuing exhibition . It ia in the shape of a * Journal of the Fine Arts , ' published by Relfe . We have seen the first number—the only one we beljeve that has at present appeared—and quite agree with the editor , wnO , says , in hi 9 introduction , that c artists have long felt the want of that just criticism that would serve to bring their productions before
the public eye , so that the merit of them may be fully made known , and their defects , if any , pointed out . Could this be done , the public wou | 4 by degrees become better judges as to wliat is really excellent in painting : and it is hoped would bestow their patronage accordingly , instead of doing it on trash , unworth y of their notice . ' The editor uses the term 4 Fine Arts , ' in a confined sense , meaning painting and sculpture only . From this , and other characteristic remarks , we
perce > y £ \ tr > at he is a professional artist . He is , however , a very unpraciise ^ l writer , and the quotation we have made , is a fair sample of his $ Xy ) $ r Yet every article in this first number , is manifestly written bjr himself , A monotony of effect is consequently produced which will qi ^ fyiiniy prevent the success of this ' Journal of the Fine Arts ;' end i £ various good contributors are not promptl y obtained , will thus le # ve tjhe desired organ of sound artistical criticism still * to seek / WCusic \ -r-The musical season has commenced in London during the
past mouth , and with unusual vigour . We have had a series of Chamber Concerts by Mori and the veterans ; ditto by Blagrove and the novices from the Academy ; ( the former having been got up in formidable and generous opposition to the latter ;) two concerts by the Vwal'Society ; one by the Philharmonic , inclu > ive ; several Oratorios nt Drury Lane ; one at Covent Garden ; and a new Cantata and Oratorio , the * Fall of Jerusalem / at Hanover Square . Our limits
will only enable us to mention that * such thintjs were ; ' and we must content ourselves with a few brief remarks on the * Fall of Jerusalem , ' and the Musical M 61 ange at Drnry Lane , denominated , * Historical Reportd * . ? With the former composition , and an entirely new Cantat * which preceded it , called * BeLshazzar ' s * Feast , ' both by G «? orge Perry , we were at once pleased and pained ; pleased , at meeting with an instance of native genius successfully following in the immortal
stop * of Handel find Haydn ; and pained to observe that the individm 4 i } % -fliftSered to remain in comparative obscurity . Many persons , toltr # ) bjy , well versed in musical matters , btill find it necessary to inquire , f jwho in George Perry ? '—although several years have claused sincje the production of this noble work . The * Historical
Records' jot , Drury Lane , wns a daring originality ; and * as often happens , proportionately gucces ^ ful . It was produced by that extraordinary . tjrefctture , Bochsa . It exhibited the state of muaic from the eurlteit V > Wribdi doVm to the prc ^ tnt time , commencing with a Pythinn
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IBS Note * tfite Month .
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), March 2, 1836, page 188, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct2655/page/60/
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